Colin Marshall sits down in Los Feliz with artist, filmmaker, and writer William E. Jones. They discuss what one learns by viewing a city through the prism of its gay porn; how Los Angeles gives away the least of itself in that form as in others; home he introduced Fred Halsted's "gay porn masterpiece" L.A. Plays Itself to Los Angeles Plays Itself maker Thom Andersen, and how the movie helped fund Chantal Akerman's first projects; Selma Avenue, once the "hustler central" of Los Angeles; the city as he came to know it in the movies before he came to know it in real life; the Los Angeles tendency to identify with specific neighborhoods; how truly coming to know the city somehow requires both driving and not driving; what made he and Thom Andersen decide to make a "useful" book of their conversations; his examination of the nonsexual elements of the gay porn, and the other work that got him a reputation for a time as "the porn guy"; his resolution not to create around any obvious unifying concept; why Morrissey's robust Latino fandom confounds people, and how it ties into Los Angeles' long strain of musical Anglophilia; the similarities between the industrial decay of northern England and the forlorn provinciality of Southern California suburbs; how city centers, to an extent excepting Los Angeles', have fallen to "fabulous wealth and enormous corporate power"; the way places never turn out quite as intended here, and what it means for civic pride, the force that begins a city's slide into decadence; what kind of a town Los Angeles has become for experimental film; the city's ability, now at stake, to nurture "something like a bohemia," which Glasgow has done where London hasn't; and what traces of Fred Halsted's Los Angeles survive today.